Pussy in Boots 18+

 

Panto is traditionally a time for people to let off steam, reawaken the inner child and return back to happier times of fairy tales, popcorn and silly jokes.  It doesn’t matter how old you are, everyone enjoys having fun but sometimes the pantos on offer are still solely aimed at the children in the audience.

Well fear not grown ups for last night we watched a panto completely aimed at us – adult humour, adult jokes, adult language but still packed with child-like silliness.

Pussy in Boots is the Dick Whittingham tale thrown fair and square into the adult arena.  Following tradition with the principal boy being played by a girl, Dick (Gemma Robinson) is the love struck poor boy who pines / lusts after Princess Rose, the virginal Eleaner Alderson.  Desperate to win her hand (and the rest of her) he must prove to Rose’s mother that he is a worthy suitor. If only there was a way he could defeat some sort of evil ogre, rescue the girl and live happily ever after.

Cue the Count, the deliciously evil Sarah Oakland whose appearance meets with both boos and no shortage of lewd suggestive comments from the audience. The count plans to capture the Princess and take her to the Ogre, a mysterious being who in the interests of casting, costs and general desire, can take any form and as such never has to actually be seen as an ogre.

Of course, true to the tale, Dick is not alone in his quest, enter Pussy in Boots (Hayley-Marie Warters) – brilliantly funny, constantly teasing the audience (and the rest of the cast) and demonstrating that naughty pussies deserve the cream too.

Backed by dancers Victoria West, Kimberley Taylor and Louise Walker, the pace of the show is non-stop; sometimes planned, sometimes improvised but always funny and definitely naughty.  Traditional elements (the “if I were not in Pantomime” song is breath stealingly funny), “he’s behind you” with a rather unique Christmas gimp and some pretty decent singing make sure this is not an Am Dram attempt at a Christmas show; it is a pantomime worthy of the title.

Tons of smut, loads of audience participation and buckets of condoms, this is a riot of fun and perfect for group night out, office party or a church road trip (well, perhaps not the last one) and one which I hope is replayed in the future.  I will certainly be looking out for similar productions.

Cinderella at Darlington Hippodrome

One of the most eagerly awaited shows of the year opened at Darlington Hippodrome, the annual pantomime, and once again the families of Darlington are in for a treat.  Cinderella by Crossroads Pantomime Productions (who also have Snow White on at the Theatre Royal Newcastle) brings all the expected glitz, glamour and family fun – the perfect ingredients for an enjoyable few hours and a lovely way to begin the season's festivities.

Cinderella (Tanisha Butterfield making her debut) is desperate to escape her oppressive step family and dreams of meeting Mr Right, Prince Charming (Jacob Leeson) who in turn feels that his title is the only thing would-be brides are attracted by.  Swapping places with his valet, Dandini ( Spin) he befriends Cinders without her realising he is royalty and thus the scene is set for the most famous premise in all of storyland “Cinders, you shall go to the ball”.

Star billing as the fairy godmother goes to Faye Tozer, super pop star with Steps and as a solo artist. Not only can Faye sing (which we all know) but she’s a great actor too, very relaxed and natural and clearly enjoying the role.  Her Steps medley to close the show had everyone on their feet and not surprisingly most still know the dance routines.   Playing opposite Faye as Buttons is Patrick Monahan – brilliantly funny although at times his natural wit is somewhat curtailed by the safe writing – there’s no too much double entendres for the adults but plenty of child focussed toilet humour.

Sadly, missing from this story is an evil entity – there is no wicked step mother to whom the audience can direct their boos and hisses.  The ugly sisters (Peter Peverley and Phil Corbitt) try and bring some Geordie styled badness but traditionally they were always meant to be selfish and spiteful, not nasty and wicked.

Being honest, in the region there are funnier pantos (Danny Adams,  Clive Webb and Mick Potts in Snow White, Theatre Royal Newcastle), there is more originality (Nutcracker Re-Miced at Durham Gala)  and there is the best villain in the land (Neil Armstrong in Robin Hood, Durham Gala) so whilst in comparison this is somewhat underwhelming, what this Cinderella gives you is a wonderfully safe, family friendly show to which you can confidently take young children who will enjoy a traditional production.

The Nutcracker Re-Miced

 

A beautiful land of pure imagination in which everyone is welcome.

At this time of year taking the family, especially if there are young children, to see a show is a wonderful way to share experience and enjoy some quality time together, away from the hustle of work, school and shopping.  Whilst there are a lot of traditional pantomimes on offer, one show promises something a little different; The Nutcracker Re-miced.

Written by Laura Turner and with original songs and score by Laura, David Barton and director Jake Smith, the Nutcracker Re-Miced is a brilliant piece of storytelling which will equally enthral youngsters and adults alike.  The story is of a Christmas Eve adventure for 2 young mice, Spike (Benjamin Storey) and Cookie (Rebecca Tebbett) who, with their mam Molly (Jessica Brady) live inside a broken clock in Durham Castle Tower.

Spike (who dreams of being a rock star)  has found a Nutcracker left at the station and would like to return it to its owner, however come night-time on Christmas Eve, it comes to life and explains to the two youngsters that they are needed to help defeat the evil Mouse Queen in Dreamland.  Off they set on their mission to find the Sugar Punk Fairy,  sail on the Honey River and return the stolen Dreamland cheese.  Along the way they have to hide from the Cat Patrol, escape from the Queen’s jail and find the missing piece to fix their clock. 

As a Christmas show this has everything you need; great characters, brilliant songs and heaps of imagination.  With all the young children in the audience encouraged to sit on rugs at the front they are immediately placed right inside the make believe world.  We took our granddaughter Emilia (5) who was transfixed throughout the show.  It’s no mean feat to hold young minds’ attention, especially at this time of year, but Jessica, Ben and Rebecca and Laura’s writing guarantee to keep them entertained throughout.   As we left, Emilia declared she loved it, and then proceeded to recount the whole story again on the drive home, a ringing endorsement.

The Nutcracker Re-Miced is on at Durham Gala from December 7^th right up to Christmas Eve – a perfect way to spend some magic time for everyone.

The Lion, The Witch and The Wardrobe

Story telling at its very best, this fantastical production transports you into the land of Narnia in a 5 star adventure.

Following many successful adaptations on both TV and Radio, this Leeds Playhouse production of the classic C S Lewis book is a massive show packed full of wonderful imagery, stunning props and an amazing cast. 

Director Michael Fentiman has created a truly unique experience; right from the very beginning as the Pevensie children are evacuated from war torn London to the highlands of Scotland we are immediately enveloped in a world where nothing seems exactly as it should be, a perfect approach to Lewis’ land.

The 4 leads, Peter (Ammar Duffus), Edmund (Shaka Kalokoh), Lucy (Karise Yansen) and Susan (Robyn Sinclair) are sent to live with eccentric Professor Kirk (Johnson Willis) and his housekeeper Mrs Macready (Samantha Womack).  Exploring his rambling house they come upon the wardrobe, through which first Lucy, then Edmund and finally all 4 children travel to the land of Narnia.  

Exploring this new land, they encounter no end of mystical creatures who are currently under a 100 year spell of perpetual winter, cast by the evil White Witch (Samantha Womack).  Samantha plays the Witch with unnerving, understated menace – there is no over the top pantomime style evil, more a simple, quiet certainty that she will win.  As the children befriend the Narnians they realise that their coming has been foretold in many stories, ‘Sons of Adam’ and ‘Daughters of Eve’ being revered as saviours to help rid the land of the self-appointed queen.  Assisting Aslan The Lion (Chris Jared and an amazing walking puppet) the 4 humans adopt their new personas and thus the final battle scene is set.

Using ensemble members to play both background humans and the creatures of Narnia, complete with all the instruments and percussion makes this totally immersive – there are no lines of delineation between traditional on and off stage elements.  Fight scenes between animals are wonderfully choreographed by Jonathan Holby while Toby Olie and Max Humphries excel in their puppetry.

The key to this whole production is imagination – the set design is brilliantly simple, presenting an almost blank canvas upon which designers Rae Smith and Tom Paris paint the fantasy.  The transitions between the human world and Narnia are wonderfully etheric; swirling curtains of silk aid scene changes while the introduction of new characters is so organic they seem to grow from the stage. 

A number of original songs (by Benji Bower and Barnaby Race) present the characters with the avenue to expand on their backstories without detracting from the flow of the story while the incidental score heightens the fantasy even further.

Make no mistake, this may be a children’s tale but this is far from a pantomime production; it is rich, complex and multi-layered, presenting as much space for the audience to do their own imagining as it does the visual smorgasbord on stage.  

More than worthy of 5 stars, this production sets a new level of excellence to which any and every storyteller should attempt to reach.

Robin Hood at Durham Gala

 A wonderful family Pantomime

It’s Panto season again (oh yes it is) and true to form Durham Gala are putting on a wonderful traditional family show.  The in-house team have a long history of bringing the best of panto land to the good people of Durham and this year’s offering – The Adventures of Robin Hood, is another great production guaranteed to give kids and grown ups the best of starts to the festive period.

The story of Robin Hood, Maid Marion, the merry men and their battles with the Sheriff of Nottingham is well known and this panto remains true to the tale, albeit with a little added local fun from the Monks of Murton.

Jacob Anderton (Dark Angel, Coronation Street) is our titular hero, bedecked in his posh tights and with the dash and poise of Errol Flynn.  The beautiful Millie Banks (Chitty Chitty Bang Bang at the London Palladium) is Maid Marion, King Richard’s daughter and target of the Sheriff’s affections.

Whilst tradition used to decree that the principal boy in a panto would be played by a girl, this show goes one better and posits Robin’s Merry Men as those of the fairer race; Kylie Ann Ford is Friar Tuck, Lauren Waine is Dennis of Dawdon and Lily Storey/Katie Thompson play Little John.  This presents many opportunities for some great gags, especially as Robin doesn’t seem to realise his Merry Men should be called Merry Women.

Of course, no panto could be complete without the bad guy and here Durham Gala excel yet again – since 2008 Neil Armstrong has been teasing the audience, chasing the heroes and welcoming the boos.  I’d offer that there is no one in the country as good as villain as Neil and this shows every time he takes to the stage.  Playing to both the children and the adults, you can’t help but love him as the evil Sheriff.

Rounding out the cast, and providing the madcap silliness are Gala stalwarts Paul Hartley as Will Scarlett and Paul Dunn as Dame Gertie Gossip the castle cook.  The 2 Pauls are wonderfully daft giving the kids all the traditional elements of a panto and ensuring the front 5 rows stay very much on their toes.

This is a great family friendly panto – the jokes and fun all land firmly with the younger members of the audience while the ribbing of local towns gives the adults a cheeky grin, the dancing and costumes are shiny and bold and the use of the whole theatre brings the show right into the laps of those watching. 

Snow White and the 7 Dwarves

 

The BEST advert for live theatre, pantomime and the North East

The annual tradition of Pantomime was sadly missing last year so we've been 2 years without our fix, but if  it's possible to turn the dial up to 12 on madcap humour, double the feel good factor and raise to the power 2 the fun and enjoyment then the Theatre Royal have managed it with aplomb.  

This year's offering, Snow White and the Seven Dwarves from Crossroads Pantomimes and written, produced and directed by Michael Harrison should go down in history as possibly one of the greatest pantomimes of all times - packed to the gills with laughs (on all levels) stunning costumes, amazing singing and oodles of chaos, everyone was left in tears of joy, be they 4 or 84.

The stalwart characters of Snow White (Kirsty Ingram), Prince William (Wayne Smith), evil Queen Dragonella (Chris Hayward) and dame Nelly Nightnurse (Steve Arnott) are the perfect foundation upon which to build the panto - they are the dreamers of dreams and the tellers of tales and it is through them, ably assisted by the Magnificent Seven (Josh Bennet, Simeon Dyer, Scott English, Jamie John, Blake Isle, Andrew Martin and Fergus Rattigan) that the good versus evil fairy tale is delivered.

Adding in an extra depth is the Man in the Mirror (Joe McElderry) and the Spirit of Pantomime (Carole Stennett).  Carole lifts the usual 'Fairy Godmother' type role embracing the whole of Panto Land and serving some timely comfort that what we have missed over the past 18 months is now back again.  I will admit, this is my first time seeing Joe live and I was blown away by his amazing voice and stage presence - so at ease within the role, very happy to be the target of some jokes and able to go toe to toe with the evil Queen.  

Of course, anyone who has been to a Theatre Royal panto over the past 16 years will know that the USP - the Unique Silliness Parts come from Danny Adams (Danny the Court Jester) and Clive Webb (Oddjob) - these 2 are panto perfection pas compare, undoubtedly the best in the country for madcap anarchy and rib-aching routines.  Clive, an accomplished magician, writer and the brains behind the duo is the straight guy to Danny's Tasmanian Devil.  

Danny, a cross between Lee Evans and Norman Wisdom, gets better every year which is saying something because he was brilliant when I 1st saw him 11 years ago - his timing, physical comedy, non-stop goofing and hilarious voices suggest an out of control performer but this couldn't be any farther from the truth - the dedication and devotion to his craft make him unparalleled in modern day comedy theatre.  Whilst he shoots out jokes and quips in a seemingly random fashion he knows exactly where he wants them to land - daft and silly are pitched straight to the kids, risque and very near the knuckle go over their heads and smack into the adults, leaving many in tears of laughter while nervously glancing at their young guests and hoping they aren't asked to explain why it is so funny.

The 3rd wheel to the zany gang is Mick Potts, cruelly playing The Idiot - Mick is as much a part of the madness and ensures that both Danny & Clive have an extra stooge off which to bounce.

Packed with pyrotechnics, amazing lighting and some truly brilliant flying sequences (for which I will offer no spoilers) the whole production is a triumph and one everyone should feel mighty proud of.

If you can only choose one pantomime this season then I suggest, nay insist, this should be it - oh yes I do !

Rock of Ages

 For those about to rock, and those who did so in the 80’s, we salute you.

Rock of Ages is a modern day musical theatre phenomenon; it ran for a record breaking 2328 performances on Broadway, has toured in more than 30 countries and spawned a 2012 movie.  Now it is back on UK stages, opened at Darlington Hippodrome, and guarantees to rock you in, and out of your seats.

Packed full of iconic rock songs, this is the musical equivalent to time travelling for anyone who was around in the 80’s (or anyone younger who just loves great rock anthems).  The story is a classic Boy Meets Girl, Falls in Love, Boy Loses Girl due to his pig headedness , Boy has an epiphany and wins her back.  Running in the background is the threat of big business developing the Sunset Strip and demolishing the iconic bars and music halls and the 80’s counter culture of resistance and proletariat. So far pretty formulaic, however what sets this one aside from so many other pop musicals is its total abandonment of the expected norm – Rock of Ages may be serious about the music, but it certainly doesn’t take itself serious at all.

Constantly breaking the 4^th wall the cast ensure that the audience are as much a part of the story as the choice of songs – they regularly display acute existentialism by referencing themselves as being actors in a musical, making for a collective sense of us all being ‘in on the joke’, together at a jam session or perhaps harking back to sitting in a friends bedroom playing records.

The cast clearly enjoy the show as much as the audience, none more so than Luke Walsh (Drew) and Rhiannon Chesterman (Sherrie), the story’s love struck leads who brilliantly toy with the perils of LA stardom and sleaze  - think Brad and Janet from Rocky Horror.  Both find themselves at the Bourbon Room, a rock club on the Sunset Strip ran by Dennis Dupree (Ross Dawes); Drew bussing tables and writing music, Sherrie as a wide eyed innocent looking to become an actor.  Both of them end up betraying their dreams for a dose of LA reality (Drew joins a boy band and Sherrie becomes a stripper) while Dupree tries to fight off the German developers and protect his club.

Guiding the audience through the story is the narrator and Dupree’s assistant Lonny, played by the mercurial Joe Gash – Gash gives Lonny all the sexual tension of Russell Brand crossed with the over the top flamboyance of Timothy Claypole (from Rentaghost).  Impish, mischievous and just deliciously naughty, Gash plays up to, and with the audience, like an adult pantomime dame, filling scene changes with surreal humour and adding in plenty of on the edge devilishness.

There are standout performances by Jenny Fitzpatrick as Justice (showing her prowess as a powerful soul singer) and Strictly star Kevin Clifton as the aging rock god Stacee Jaxx proving it’s not just dancing he excels at.

The playlist should be filed under ‘definition of jukebox musical’; it feels like the writer, Chris D’Arienzo, wanted to make a mix tape of his favourite 80’s songs and then make up a story to tell by using them.  Every tune sits as a chapter heading to progress the story; there is little subtlety in which tune fits where but that is fine, we’re not here for high brow, deep thinking culture, we’re here for Rock and Roll. 

Backed by a brilliant ensemble, some rather risqué costumes and a rocking live band, this is not so much a love letter to rock as it is a wild Friday night of abandonment and worry about the consequences later.  So, if you like comedy, if you enjoy live music and if you love 80’s rock then this is the perfect way to reminisce about, or reacquaint yourself with, classic songs,  but be warned, you may feel the need to dig out your tasselled leather jacket and big up your hair.

Songs include:  

Any Way You Want It

Can't Fight This Feeling

Cum On Feel The Noize
Don't Stop Believin'
Every Rose Has Its Thorn
Final Countdown
Here I Go Again
Hit Me With Your Best Shot
I Hate Myself For Loving You
I Wanna Rock
I Want To Know What Love Is
Keep On Loving You
More Than Words
Nothin' But A Good Time
The Search Is Over
Shadows Of The Night
To Be With You
Too Much Time On My Hands
Waiting For A Girl Like You
Wanted Dead Or Alive
We Built This City
We're Not Gonna Take It

The Legend of Sleepy Hollow

 

Perhaps more confusing than scary, there's probably a good story hidden in there.

Over the years The Legend of Sleepy Hollow has been everything from a Disney short to a Tim Burton macabre thriller.  Based on the story by 18th century writer Washington Irving, it tells the tale of Ichabod Crane, a Bostonian teacher who winds up in the hamlet of Sleepy Hollow, a tightly knit community who have dark secrets and even darker pasts.

The reason for Crane's visit is not immediately clear, he states it is to bring his teaching to a new town, but as the villagers attempt to bring him into their ways it is clear that neither he nor they are being entirely honest with each other.  The annual tradition of Hallowmas, the retelling of the legend and the apparent ritualistic acceptance of fate lead to a sense of uncertainty, but sadly for a ghost story, no real feeling of fear.

The 1st act remains quite true to the original story; out of towner trying to ingratiate himself with the locals, they being wary of anyone new.  Sam Jackson as Crane paints a believable image of a city teacher finding himself in a hamlet unchanged since the original settlers.  His 'rival', local Brom (Lewis Cope) is clearly threatened by Crane, both for the affections of Katrina (Rose Quentin) and as a destablising influence on the traditional way of life.  This could have been developed more into a love triangle, were it not for the fact that the only real chemistry was between the two male leads.  Quentin seems to favour shouting as her method for portraying intensity which weakens the menace of her character in the finale.   Other members of the cast try hard with their parts (most play multiple roles) but some are odd and others just baffling.  Bill Ward as the patriarch Baltus Van Tassel seems a little lost as to whether he is drunk, insane, a bully or just in the wrong place.  Wendi Peters as the Widow Papenfuss (an original character written for this production) however is the one true solid character - she toes a fine line between age old confidante and dangerous harpy, never letting the audience settle into deciding to like or fear her.

The 2nd act tries to introduce more folklore; Wendigo, Wraiths, and a sea devil to name but a few, the legendary Headless Horseman makes a brief appearance but sadly the writing prevents any chance to build tension towards the climax.  It takes a few moments to adjust to the recounting of both the legend and Crane's past life before you realise what is being played out and even then the relevance to the main plot is not entirely clear.

There are some very clever uses of smoke and lighting (credit Amy Watts & Jason Addison) and some unique scene changes using interpretative dance but these can't redeem some poor direction - all too often the blocking meant dialogue was being delivered to the rear of the stage with the lead standing with their back to the audience and as such it was nigh on impossible to hear everything being said.

In all, this felt like a compilation of Hammer House of Horror tv shows; lots of individual components but no golden thread to tie them all into a comprehensible story.

9 to 5 at Sunderland Empire

 

More than just a cup of ambition, its a whole coffee shop

Remaining faithful to Patricia Resnick's book and the 1980's movie in both story and much of the script, 9 to 5 The Musical is a riot of song and dance, fun (more than a little risque in places) and makes for a brilliant evening.

The premise is centered on a stereotypical New York company in the 1980's - a corporate boys club where women are seen as second class items of titillation or simply to be tolerated as they perform the most menial of tasks, ran by CEO Franklin Hart Jnr (Sean Needham), a sexist misogynist who takes great pleasure in denigrating the female workforce.  Cue our three protagonists who, after a particularly difficult day discuss how they would like to kill off Hart.  

Whilst this may just be girl talk, it does get them thinking as to how they would change things should they ever get into the hot seat.  Following a hilarious encounter in Hart's office (resulting in him being hog tied at gun point), they find themselves presented with the opportunity to revise the working conditions and at the same rid themselves of Hart once and for all.

Violet (who for this performance was brilliantly performed by Sarah-Marie Maxwell in her debut appearance) Judy (Vivian Panka) and Doralee (Stephanie Chandos) work so well together as the lead trio - initially they are very separate with little time for each other and quite set in their opions but by the 2nd act they have formed a formidable triple threat.  Sean Needham as Hart keeps 'the boss' on the right side of despicable - he's not played as a pantomime villain, more a sad deluded middle aged man who believes his name plate entitles him to anything he desires.  His comeuppance at the end of act 1 is hilarious.  Special mention to Julia J Nagle who plays Roz, Harts office spy - her unrequited love for him doesn't just border on obsession, it is firmly entrenched in 50 Shades of ... 

With lyrics and music written by Dolly Parton you know you're guaranteed some fantastic songs and it is refreshing to have a musical that does not follow the traditional Broadway/West End formula.  There is tonnes of humour, great up tempo country-style numbers coupled with wonderful 3 way harmonies and all performed by the brilliant cast.  

Choreography by Lisa Stevens is amazing; she manages to pack in all the feelings of a busy office, loads going on without ever distracting from the leads, and at times it feels like a Busby Berkeley number.  Designer Tom Rogers deserves particular applause; the set, transitions and very clever use of perception is some of the very best this theatre will have ever seen.

Fans of Dolly, fans of the original film and certainly fans of funny musicals will LOVE this show and it guarantees to leave you singing all the way from 9 to 5 and back again.

9 to 5 is on at the Sunderland Empire (who work tirelessly to ensure you feel safe, relaxed and can enjoy the show) running until Saturday 13th November.

Waitress - a second helping please

The opening night of Waitress The Musical at Sunderland Empire was possibly the epitome of musical theatre bar none.  A love story set in a diner, the lead in an unhappy marriage but devoted to her passion for baking love into pies and a series of relationships that are totally relatable - Waitress is THE feelgood musical, completely deserving of all its plaudits.

The premise is of a waitress (duh) who spends her days creating fabulous pies (thus pandering to the American obsession with fruit filled pastries) for the diner patrons where she works.  Her marriage is a shell; on the outside she shows acceptance but inside her unhappiness and desire for more is what drives her forwards.  Add to this some sass and innocence from her diner co-workers and we have all the ingredients for total immersion in the world of deep south, small town, road side diners.

Lucie Jones as the lead Jenna is beyond compare; her portrayal as an independent woman shackled by the traditions of small town America but with dreams to take her far beyond a stove-chained wife moved everyone in the audience.  She brings innocence, wistful longing for a better life and yet a realism that counters the sugar coated happy ever after.  Sandra Marvin as Becky, Jenna's bff is truly amazing - she reminded me of the great Aretha Franklin in Blues Brothers - sass, love, fun and pipes to rival the greatest.  Evie Hoskins as Dawn, the innocent 3rd server of the diner trifecta adds a wonderful comedic element and plays wonderfully off George Crawford as her beau Ogie.

Jenna's love interest is Dr Pomatter, played by Matt Jay-Willis (he of the band Busted (whom I have seen live and I have to admit love their early 2000's tunes) Jay-Willis is wonderful, very reminiscent of a young Tom Hanks in both his mannerisms and understated comedic sensitivities.  Of course he can sing, but his acting and timing are 1st class.

To be honest, the whole cast were totally wonderful; a warm and engaging group who elevated storytelling to the highest level and enveloped the audience in a warm hug of escapism.  The stage and set were without doubt the best example in the country; I doubt the huge stage at the Empire has ever been used so perfectly - Sky Barnes (Stage Manger), Alex Sumner-Hughes (Director) and Sue Berry (Company Stage Manager) deserve awards for their delivery - in particular the number "She Used to be Mine" is possibly the most moving, and most brilliant stage scene I've ever seen.

There is so much humour in this show that some might be tempted to class it a comedy, yet the overarching premise is of never forgetting your dreams and remaining true to yourself. Waitress is a 5 star must see, very much worthy of a second slice and totally deserving of the full house standing ovation.

Waitress The Musical is on at Sunderland Empire until Saturday October 30th

Strictly Musicals 3 - THE Greatest Show

"Everything you've missed over the past 18 months, all condensed into one amazing night performed by truly amazing people"

The Darlington Operatic Society (DOS) Autumn Spectacular Strictly Musicals 3 - The Greatest Show opened last night and once again they delivered a show full of passion, humour and talent.  From the opening refrain of the Greatest Showman (from the smoldering Michael Hirst), right through to the confetti explosion at the end of the very apt for the times Spread the Love Around (led by the ever youthful Sam Morrison and Rhiannon Walker), the cast, crew and orchestra never missed a beat, a harmony or a step.

It's well known that DOS has a rich pedigree for bringing together great talent with ambitious choreography and stunning costumes; recent shows include Jekyll and Hyde, Priscilla Queen of the Desert and Chitty Chitty Bang Bang.  This production not only showcases even more brilliant voices, they open up some new shows which many may have not yet seen in the UK.  It is testament to the whole company that they are confident to mix classic with contemporary and do so whilst raising their already high bar even higher.

Hits from current smash shows like award winning Six , Dear Evan Hansen (the movie version premiers this week), Something Rotten (which has yet to open in the UK), The Wiz (just about to commence touring again), The Book of Mormon and current West End darling Cinderella gave the Darlington Hippodrome audience a taste of West End and Broadway well before most people have had the chance to see the full productions.  

The DOS 'treatment' (40+ voices in perfect harmony) is given to Les Mis, The Greatest Showman and Cinderella medleys, while solo stars have the audience holding their breath in Bodyguard (Jessica Harrison, Katie Blythe, Claire Willmer, Rhiannon Walker, Kate Williams), The Witches of Eastwick (Zoe Kent, Sam Morrison, Sarah Harland) and La Cage Aux Follies (Julian Cound).  

This year, more than ever, sees many powerful, beautiful female voices, each one would deservedly be a leading lady in their own right, but through the brilliant musical direction of Steven Hood they become a collective force majeure.  

Just as impressive as the singing is the dancing; the company are able to switch seamlessly from ballroom to hip hop, from ragtime to ballet, with the grace and precision one would normally only expect from professional troupes. Most shows will have 2 or 3 main dance numbers, here there are 13 (complete with costume changes in between) and yet the synchronisation and coordination is flawless.

Director and Choreographer Joanne Hand has ensured that the running order brings variety to the pace and tone; company ensembles are followed by intimate solos, powerful ballads play against comedic romps (It's a Musical from Something Rotten is a riot, playing on the brilliant natural comedy talents of Leighton and Eddie Taylor-Jones).  With so many numbers to choose from and a cast who can literally perform ANYTHING, Joanne probably has the hardest job right at the beginning of production in deciding what NOT to include.  As mentioned before, the choices for SM3 will undoubtedly open peoples' eyes and ears to new shows as much as help them fall back in love with old ones.

Looking back at previous Strictly Musicals which were great jukeboxes of musical hits, this production feels more mature, more complex and, if at all possible, even more professional - if you love musical theatre, if you want to sit in awe for an evening and marvel at the local talent or if you just want a great night out then I cannot recommend anything better than DOS Strictly Musicals 3 - it is THE Greatest Show.

Details, tickets and times are available at 

https://www.darlingtonoperaticsociety.org.uk/productions/current-show/

Being Mr Wickham

More Pride than Prejudice

Reprising his role as Mr George Wickham, the man who polarises opinion in Jane Austin’s masterpiece Pride & Prejudice, star of the 1995 BBC dramatisation Adrian Lukis brings us a ‘what happened next’ insight into life after Darcy, Lydia and the Bennets.  

Written and performed by Lukis and Catherine Curzon, this one man show (Directed by Guy Unsworth for original theatre Company) reimagines how Wickham would have continued to live, expanding on his somewhat younger loutish behaviour and following him right through to his 60s.

It is clear that Lukis feels very passionate about continuing Wickham’s story, indeed, his attention to detail, his immersion in Wickham’s progress and his consideration for not letting him be only remembered as a cad and a scoundrel makes this a wonderful epilogue to the Austin tale.  

We are given more understanding about why he was as he was, his relationship with the more popular Darcy and how, over time he would surely have mellowed, allowing his sensibilities to mature and become more rounded (although he will never completely lose that roguish charm).

The second act affords the audience an opportunity to question Adrian, an open floor Q&A in which he will (try) and field any questions and explore other ideas and theories.  

Witty, informed and very insightful, Being Mr Wickham is heartily recommended for fans of the original production and one which I am sure Ms Austen would have certainly approved.

School of Rock

 Class is Session – Make some Noise

Last night saw the Sunderland Empire Gala re-opening night and there could have been little doubt that choosing School of Rock was the best show to celebrate with.

Packed to the rafters, the theatre rocked as one as Andrew Lloyd Webber’s stage production of the 2003 Richard Linklater / Jack Black movie blew away any feelings of uncertainty and shone the bright spotlights back on the good times.

Led by Jake Sharp as Dewey Finn (reprising his role from the West End production) and joined by Rebecca Lock (Curtains) as Rosalie Mullins, Matthew Rowland as Ned Schneebly and Nadia Violet Johnson as Patty Di Marco, the stage was set for the adults to play second bill to the amazing cast of rock kids.

The story is one of Dewey Finn, wannabe rock god but actual sponger who dreams more than he delivers and is always looking to blame ‘The Man’ for his downfalls.  On a chance opportunity, Finn cons his way into a supply teacher role at a prestigious prep school and, throwing their curriculum out of the window, proceeds to teach the kids all he knows about rocking out and sticking it to the man.

The kids welcome this change in approach and, using their already considerable talents, begin to form Finn’s newest rock band, initially believing this was all part of the school system.  Ultimately, their/Finn’s aim is to win the Battle of the Bands, an open mike competition in a rock club but to do so, Finn must persuade principal Mullins that he should be allowed to take his class on the required ‘field trip’.

Jake Sharp is an amazing performer – channeling the mania of Jack Black, adding in a little John Belushi and then wrapping it all in great singing and brilliant guitar playing, his Dewey Finn is a lovable loser who frustrates as much as he excites.  Rebecca Lock, as principal Mullins, provides the starched counterpoint to Sharp, a locked box of repressed emotions, shouldering the burdens of the kids parents without any release valve until Finn shows her the way.  

Staying very true to the movie in both plot and many of the purpose written songs, the pace is relentless;  like all good rock albums it doesn’t let you rest before going into another great tune, all performed by the cast & band.  An opening announcement confirming that the kids all play their own instruments just serves to create even more awe at how amazing their performances are and all done with genuine enjoyment and masses of energy.

The only slight on this amazing night was that, due to an evacuation right after the last main musical number, the amazing cast were not able to receive the undoubtedly massive ovation they would have had at the final curtain – such a shame but if ever there was a great reason to go and see if again, this is it.

School of Rock is at Sunderland Empire until Saturday 9th October

Strictly Musicals 3 - The Greatest Show

Let the Good Times Return

"A wonderful opportunity to see hits from the biggest shows in musical theatre all on one night"

The past 18 months have for most of us seen a unique change to life; lockdowns, working from home, unsettling news and in worst cases, illness and loss. At times like this it is human nature to look back, before the pandemic and seek out times when things seemed happier, more settled and enjoyable. It is difficult to look ahead and see such times returning anytime soon and yet, on the near horizon is something which, for thousands of people, will give them an escape, a feeling of normality and something to look forward to and enjoy. 

 Darlington Operatic Society’s Strictly Musicals 3 – The Greatest Show.

Darlington Operatic Society has been the premier amateur musical theatre company in the North East for many years, providing twice yearly shows and giving members and theatre-goers fantastic opportunities to enjoy the very best of musical theatre. Back in 2013 they ran an Autumn spectacular, ‘Strictly Musicals’ which showcased some of the most popular musical numbers from shows such as Evita, Les Mis, Sunset Boulevard, Phantom and Wicked. Met with both critical and public acclaim, it was a gatehouse for many to shows they would not normally have chosen and widened appreciation for musicals (resulting in a marked upturn in ticket sales for future musical productions).

A second ‘Strictly’ followed in 2017 and again this proved to be a smash hit, allowing cast and crew to explore Mamma Mia, We Will Rock You, Miss Saigon, Top Hat to name but a few. Led by the company Director and choreographer Joanne Hand and Musical Director Steven Hood, the numbers featured stunning dancing, wonderful choreography and impressive sets, all performed by 40+ cast members whose talents rival any professional production company.

Now, in 2021, (having had to postpone the initial run), Strictly Musicals 3 is about to land and it looks like the pedigree of the previous 2 shows is even stronger. Taking numbers from West End and Broadway mega-hits Hamilton, The Greatest Showman, The Book of Mormon, The Bodyguard, Cabaret, Les Miserables, Sister Act and many more, this guarantees to be 2 hours of high octane, fun-filled song and dance.

With powerful leads channelling Whitney Houston & George Hearn, 40 strong ensemble dance routines and a 12 piece orchestra, this really will be The Greatest Show seen at Darlington Hippodrome. 

 Opening on Wednesday 20th October and running until Saturday 30th tickets are still available, but selling very fast – visit here for more details and to book shorturl.at/tOP25

Al Murray - The man behind the man behind the bar

 An interview with Al Murray

In between his very hectic schedule of tour dates, writing, rehearsing for a gig and podcasting, Al Murray very kindly agreed to a quick chat.

We have followed your career with great enjoyment since the early days of comedy with Harry Hill.  Stand up aside though, your historical recall, associations and repositioning are quite unique.  Have you always had the ability to weave such narratives?  (Al has a history degree from Oxford University)

AM - Yes, when I studied history at University I was not able to focus on the history that interested me, in fact I really couldn’t bear a lot of it, so when I could return to it later on I was able to choose exactly what I liked.   I am fascinated by the Second World War and I think understanding it, and History in general, is really important.  History and exploring world events and how they impacted people is a cultural phenomenon;  it affects everyone differently so being able to use facts to retell stories which prompt people to then question what they think is amazing.

 

Many people know you best as The Pub Landlord – over the past 10 years, you have more than dabbled in music, politics, theatre, writing and presenting – does the Landlord persona ‘get in the way’ at all?

AM - Not at all, in fact I use him and me to show two sides of the same coin.  In my recent series “Why Does Everyone Hate the English’”  I was able to have The Pub Landlord character make his rather over the top observations and then I, as Al Murray, was able to explain in a more measured way the facts behind the headlines.

 

You did a battlefield tour with James Holland at Arnhem and Nijmegen, have you any others planned and which would you most like to do next?

AM - My tours and subsequent podcast with James (”We Have ways of Making You Talk”) have been amazing for me.  I thought I was very knowledgeable about the Second World War (ed. He is VERY knowledgeable) but as James and I talked through the series I realised just how much more there is to know.  I think knowing and understanding the Second World War is very important; we can learn so much about who we are now by looking back on where we were then. 

Looking ahead, the plan is that with international travel available next year we will be having more tours across other battle sites and hopefully another series of the podcasts.

 The Pub Landlord character is very open in celebrating Britishness; since the Brexit referendum, do you think audiences have changed in declaring their English/British nationality?  

AM - No, not all all. In 2016 the Brexit referendum was a single question asked of people on a topic, the EU, that would normally rank about 7^th or 8^th in their list of important things to think about.  They voted and then went back to their lives and allowed the politicians to begin fighting about the details.  It didn’t change how we felt about ourselves and didn’t really feature in our everyday conversations until very recently, so how British we felt then is still pretty much the same now.

The Covid pandemic, however, has been very different – that has come into everyone’s homes, lives, thoughts and as such there is a much more specific reaction to what is happening.   Looking back on a previous question, in a way, Covid has been much more like the Second World War in it has affected everyone immediately, far more than Brexit.

 

Have you managed to get back to drumming with a live band since restrictions have been eased ? 

AM - Yes, we have started rehearsals a few weeks ago and have a gig planned for later in September.  It’s been a great relief to get back playing live with the band. (ed. It is clear Al is very excited about performing again)

 

What can we expect of this current tour (Al Murray; Landlord of Hope and Glory)

AM – The Pub Landlord will be back doing what he does best, tackling current issues head on, enjoying the ‘banter’ with the audience and hopefully making people feel good.  There has been a lot of things happen since the last tour so we have a lot of new ground to cover.

 

What do you think the Pub Landlord makes of the recent influx of craft gins ?  is it just a fad ?

AM - Al laughs – the huge range of new drinks is great, it gives people choice and with choice comes happiness.  I think the Pub Landlord, however would still think the traditional white wine/fruit based drinks should be a staple go to option.

 

My granddaughter (5) would like to know, if you were a potato, how would you like to be cooked?

AM - Baked, every time.

Al Murray - Landlord of Hope and Glory tour is on now, tickets and dates from https://thepublandlord.com/ 

Al's Podcasts - We Have Ways of Making You Talk 

Al's unique look at our history - Why Does Everyone Hate the English (on HistoryPlay & Amazon)